A Blaze of Autumn Sunshine: The Last Diaries (Tony Benn by Tony Benn

By Tony Benn

During this ultimate quantity of diaries, Tony Benn displays at the compensations and the dangers of previous age.

With the help of a small circle of associates and his , he maintains his actions on behalf of social justice, peace and responsibility in public lifestyles, to a heritage of political switch and the foreign financial crisis.

Following an disease in 2009 the diaries, stored for over sixty years, stop. released right here along those final diaries are Tony Benn's hugely own insights into the demanding situations of previous age and failing healthiness, of widowhood,and of relocating out of the kin domestic after sixty years.

Finally, we percentage in Tony Benn's hopes for the longer term in response to his years of expertise and his average optimism.

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Sample text

From the very beginning of the novel, Periquillo exposes himself to the reader as if for clinical observation. 29 This stress is congruent with other rhetorical devices deployed in the novel. Dialogue, used extensively in El Periquillo Sarniento, is the ideal form of communication and knowledge in this epoch, for, as Jean Franco observes, it offers space to reconcile apparently diverse opinions. At the same time, dialogue marks the limits outside which discussion is impossible (Franco 1983, 7).

Soon afterward he is off to prison, where he learns two things: first, that even in prison there are good people; and second, that even there one is judged by the exterior. After his release from prison Periquillo serves a series of corrupt masters (a scrivener, a barber, and a doctor) with whom he abuses others. As an incompetent assistant to the pharmacist, for instance, he gives a patient arsenic instead of magnesium. In another instance, impersonating a doctor, he attempts to cure the wife of the governor of the Indians: “I gave her tartar, she died; and the next day when I called to see how she was doing, I found the house seething with Indians, men, women, all crying together” (1942, 169).

Simulation and dissimulation are two central tropes, as González notes, around which the discourse of the novel is built. They are also the main strategies of Periquillo’s life. Incapable of making a distinction between contact and imitation, Periquillo’s impulse to identify with his environment is very strong: “It is true each sheep loves its mate, and this is commonly known: the ass does not associate with the wolf, nor the dove with the crow; each seeks his kind. So I did not associate with the sensible, punctual, intelligent children, but with the malicious wild ones” (Fernández de Lizardi 1942, 21).

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